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THE LEWIS CARROLL SOCIETY 




immt Letter 



OF NORTH AMERICA 



NUMBER 38 SUMMER 1991 



Eva Le Gallienne^ Stager of Alice, Dies at 92 



Eva Le Gallienne. who brought Alice in Wonderland to 
Broadway in three different decades, died on June 3 in her home 
in Weston, Connecticut. She was 92. Her theatrical career 
spanned eight decades, and she always had a soft spot in her 
heart for Alice. 

Eva Le Galhenne was bom in London on January U , 1 899, 
the daughter of poet Richard Le Gallienne and Danish-bom 
writer Julie Norregard Le Gallienne. Most of Eva's early years 
were spent in France and Denmark, where she became steeped 
in European culture and dreamed of one day becoming an 
actress. She had not long to wait for that dream to come tme, 



Fall Meeting to 
Highlight Collections 

The Fall 1 99 1 meeting of the LCSNA 
will be held on Sat., Oct. 5, in and around 
Silver Spring, Maryland. In order to al- 
low for a full day of activities, we will 
convene at 10:30 am at the Wheaton 
Library in Silver Spring. The meeting 
there will include brief presentations by 
our three collector/hosts as well as talks 
by British collector and Carroll expert 
Selwyn Goodacre and author of the re- 
cent Carroll National Geographic article 
Cathy Newman. 

We will then adjoum to the home of 
founding members David and Maxine 
Schaefer where lunch will be provided 
and we will have a chance to pemse the 
first collection of the day. 

The next stop will be the home of Mr. 
& Mrs. August Imholtz, also long-time 
collectors of Carroll material. The meet- 
ing will conclude with a trip to the home 
Alan and Alison Tannenbaum. Dinner 
will be provided while we view the third 
Carroll collection of the day. 

Book collectors come prepared to be 
envious, and everyone come prepared 
for a full day of Carroll-ing. Watch your 
mailbox for further details. 



for she made her stage debut in 1915 at the age of 16 in a 
production of Laughter and Fools. Coincidentally, this debut 
came on the stage of the Prince of Wales's Theatre in London — 
the same theatre which saw the West End debut of Henry 
Savile-Clarke's Alice in Wonderland in 1886. 

The following year, Le Gallienne travelled to America 
where two years in Ethel Barrymore's company helped to 
establish her as a New York actress. An engagement in 
Molnar's The Swan eamed her high praise from critics, and 
during the two-year mn of that play she began to conceive the 
idea which would blossom into the Civic Repertory Theatre. At 
that time, there were no repertory the- 
atres in New York, nor were there any 
establishments such as Eva had known 
as a child in Europe, which provided 
productions of important dramas for a 
modest price. 

Though she was discouraged by New 
York managers who believed that such a 
project would not survive in the highly 
competitive world of New York theatre, 
Eva Le Gallienne left the lights of Broad- 
way and, on October 26, 1926, years 
before anyone had spoken the word "Off- 
Broadway," opened the renovated Four- 
teenth Street Theatre as the home of the newly formed Civic Repertory Theatre. 

The first week saw fourplays presented in repertory, and over the next seven years, 
the Civic Repertory Theatre presented thirty-four plays by Ibsen, Moliere, Shakespeare, 
and others, at prices ranging from 500 to $1 .50. In order to keep the price of tickets 
this low, Le Gallienne recmited patrons who subsidized the theatre in the amount of 
$100,000 per year. 

As the 20s gave way to the 30s and the depression deepened, Le Gallienne decided 
to add an adaptation of Alice in Wonderland to the Civic 's repertory. The company 
had been closed for several months in 1932 while Le Gallienne recovered from a 
serious hand injury, but, as she looked towards an October reopening, her mind turned 
to Alice. 

'T had worked for over a year on the problem of translating the immortal Alice to 
the stage," wrote Le Gallienne. 'T had visions of the irate lovers of Lewis Carroll's 
masterpiece turning on me and tearing me limb from limb in blind rage, accusing me 
of desecrating their sacred heritage. I decided to base our production on my firm 
conviction that Alice in Wonderland is by no means primarily for children. I am 
indeed inclined to believe the opposite to be tme. 

'Tn the text that [Florida] Friebus and I eventually evolved there was not one word 

{continued on page 2) 




Eva Le Gallienne and Josephine Hutchinson 
in the 1932 Alice in Wonderland 



Editorial — 

Ubiquitous Alice 



Going to New England in June was 
not meant to be an escape from Alice, but 
it was the first time in years we have 
taken a vacation that included no Lewis 
Carroll Society meetings or pilgrimages 
to places made famous by Dodgson and 
his muse. She is inescapable, though, as 
we might well have known and were 
happy to find out. 

The second day of our journey found 
us in Kingston, New York, where we 
wheeled the car around in heavy traffic to 
make a stop at "Alice in Videoland." 
Some days later the rather perplexed 
proprietor of "Dolls in Wonderland" in 
northern Massachusetts agreed to give us 
a business card. 

A quick trip into New York City for 
a day of the American Booksellers Asso- 
ciation convention brought us to the vast 
Javits Center where we knew only new 
booksellers would flock — not our anti- 
quarian colleagues. An hour after our 
arrival, as we scanned next fall's releases 
in the world of children's books, we were 
proved wrong. 

"Aren't you the Lewis Carroll 
people?" 

It was Lois Harvey of Denver, Colo- 
rado — like us, a used book dealer in- 
trigued by the mere thought of attending 
ABA. In southern New Hampshire we 
had a similar experience as we were 
checking out of a used book shop — 

"Lovett & Lovett? You're the Alice 
in Wonderland people, right?" 

Caught again! This time due to an 
article in a hometown magazine that had 
been mailed to the dealer by a mutual 
friend. If Alice could find us this far 
away from home, we might as well con- 
tinue to pursue her. The rest of our trip 
brought visits with LCSNA members 
Rosella Howe (many wonderful hours 
around the kitchen table discussing 
Carroll) and Stan Marx (who had found 
a wonderful item for our collection). To 
top it all off, on our way south we spent 
a day visiting the Parrish Collection at 
Princeton — enough to humble any 
Carroll collector. 

Thanks for a great trip, Alice; it's 
good to know you're out there. 



Le Galliennef(Yw////(/rt//)vw//wi,'(' /) 

that was not Carroll. For practical pur- 
poses some of the incidents were changed 
in sequence, but in sequence only. 

"I felt that two things were of para- 
mount importance: first, the visual as- 
pect of the production; secondly, the 
dream quality, which could be estab- 
lished only by continuous action, with 
Alice never leaving the stage." 

Le Gallienne addressed the first of 
these problems by designing the produc- 
tion after Tenniel's drawings for the y4//Vc^ 
books. "The entire production, down to 
the smallest prop, was to be a faithful 
reproduction of Tenniel's famous illus- 
trations." 

To achieve the dream quality of the 
performance, Le Gallienne "evolved a 
scheme through which it was possible to 
make the action continuous by the use of 
a track laid horizontally across the stage 
upon which two medium-sized chariot 
platforms alternately rode, shuttle-wise, 
varied occasionally by the use of the full 
stage without platform, and backed by a 
roll of scenery that could be kept in 
constant motion at varying speeds. In- 
stead of Alice's having to leave the stage 
and go from one environment to another, 
she remained upon the stage and the 
various environments came to her and 
surrounded her." Thus in 1932 did Le 
Gallienne use staging techniques that 
would dominate American musical the- 
atre over five decades later. 

The long, complicated rehearsals for 
Alice in Wonderland were often attended 
by Clemence Dane, a playwright who 
introduced Le Gallienne to Richard 
Addinsell who eventually wrote a musi- 
cal score for the Alice production. 




Not only human beings but also pup- 
pets were used in Alice. In trying to solve 
the problem of representing the oysters 
Le Gallienne "hit on a scheme of using 
super-marionettes for the Walrus and the 
Carpenter. These huge figures were over 
seven feet tall. The little oyster-puppets 
stood just about one foot high in their 
Tenniel boots." 

Largely because of the patience and 
persistence of Le Gallienne and the su- 
perb cast and crew she had assembled, 
the pieces of the Alice production began 
to fall into place. The lavish sets and 
costumes gave the show a dreadfully 
high price tag — over $23,000 before 
opening night — but, "through the energy 
and stick-to-itivness of [fund-raiser] Mary 
Benson, who practically held up various 
still-wealthy patrons at the point of a 
gun" the production opened in early De- 
cember of 1932, just months after Alice 
Hargreaves' memorable visit to New 
York. The play, which combined both 
Alice books, starred Josephine 
Hutchinson as Alice, and Le Gallienne 
not only directed but also played the role 
of The White Queen. The cast also 
included a young Burgess Meredith in 
several roles, including the Dormouse. 

Alice in Wonderland was hailed by 
the critics as another triumph for the 
Civic Repertory Theatre. Brooks 
Atkinson wrote of the production that it 
"recaptures more of the innocent non- 
sense of the book than you would think 
possible. Inasmuch as the Oxford don 
wrote it for saucer-eyed reading rather 
than acting, do not fault the collaborators 
if they have not turned it precisely into a 
play. Rather have they related it in a 
frankly make-believe pageant of Tenniel 

{contlniH'cl on page 4) 



PLAYBILL 



ALICE 
IN WONDERLAND 

NEW AMSTERDAM 

TWeATRE 



ALICE IN WONDERLAND 




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Tot The Inl.rnor.onal Iheotre 




(©Tif ^o^(©p^ Sc "^^^i^m, 



New Edition of Sylvie & Bruno 

Publicity Contest to Be Judged by LCSNA 

Mercury House of San Francisco will be publishing a new 
edition of Sylvie and Bruno this October. The single volume 
will include the complete text of both Carroll's Sylvie and 
Bruno books as well as Carroll's introductions and a new set of 
illustrations by Santa Cruz artist Renee Flower. This book's 
publication marks the first time in several decades that the 
complete text of the Sylvie & Bruno books has been available 
outside an anthology. 

Flower's illustrations combine modem design with a wood- 
cut style presentation similar to that of chapbooks being pub- 
lished during Carroll's own childhood. The intentionally 
primitive quality of her illustrations is reminiscent of African 
ritual masks and the dual nature of the book's characters is 
emphasized by the stark black and white division of their faces. 

The book includes an "Editor's Note" by Thomas 
Christensen which makes a strong case for Sylvie and Bruno as 
a novel of literary invention. Christensen maintains that Sylvie 
and Bruno did to the Victorian novel what Alice in Wonderland 
did to the children's book — turned it on its head — and that it 
relates to Carroll's earlier works as Ulysses relates to the more 
mainstream works of Joyce. Christensen finds Carroll's phi- 
losophizing off-putting, and this is unfortunate, for in his 
digressions from the story one can glean a great deal about 
Carroll's ideas on religion, politics, and other issues. Readers 
familiar with Carroll's life will come away from the experience 
of reading Sylvie and Bruno knowing more about both book and 
author. 

To help promote the book. Mercury House is sponsoring a 
"Sylvie and Bruno Contest" in which contestants will be asked 
to compose a verse in the style of the "Mad Gardener's 

Song." Prizes, in the form of ^^^^^^^s\ a collection 
of Lewis Carroll books, }l\^^^K5^lL ^i'l ^^ a- 

warded in /^4(W\ \v^^B^T(C ^^ree age 

groups: 12 W^IKa^JI ltm\.'^^S/wMM ^^^ under, 
13-18, and W^l3% Sk^VV^BTcW adult. The 





Illustration by Renee Flower 



contest will be judged by members 
of the LCSNA. Anyone interested 
in assisting with the judging, please 
contact the KL editor (I can use all 
the help I can get). The deadline for 
the contest is November 29, 1991, and winners will be an- 
nounced in January, 1992. 

The Complete Sylvie and Bruno (Cloth, 384pp., $30.00) 
will be available from the publisher (201 Filbert Street, Suite 
400, San Francisco, CA, 94133) in October. 

National Geographic Features 
Article on Lewis Carroll 

One of the goals of the LCSNA is "to advance the public 
knowledge and appreciation of the works of Lewis Carroll." 
Certainly the publication of "The Wonderland of Lewis Carroll" 
in the June 1991 issue of National Geographic will greatly 
advance such public knowledge. The article, written by Cathy 
Newman, gives a general overview of Carroll's life and works. 

Newman's style of writing captures the spirit of Carroll 
wonderfully as she relates her travels across England in search 
of the don. As always in such short pieces, certain things are 
glossed over, but one does wish that rather than spend time 
telling us that the Cheshire Area Cat Championship is held in 
Wales, Newman had chosen to say something about Carroll's 
Russian journey other than "[he] spent his time viewing 
cathedrals." Nonetheless, she touches on most of the major 
aspects of Carroll's life, stopping to talk with Morton Cohen 
about the relationship between Carroll and Alice along the 
way. For the uninitiated, Newman provides a basis of knowl- 
edge of Carroll as someone other than just the author of Alice. 

When one thinks of National Geographic one generally 
thinks of pictures, but the photographs for this article, by Sam 
Abell, are a bit disappointing. While the view of the Christ 
Church Sub-librarian's window is lovely and the reproduc- 
tions of sketches and other pieces from that library's collection 
are tantalizing, many of the pictures leave one wondering. 
Why, for instance, are we shown a current Rugby student 
studying instead of a picture of Rugby in Carroll's time? Why 
does the caption for the photo of Christ Church's Hall not 
mention Dean Liddell's portrait in the comer or Carroll's over 
the photographer's right shoulder? Why was the photo of a 
little girl passing through a green door into a garden taken in 
Wales and not at the door which passes from the Deanery 
garden to that of Christ Church Cathedral? And why, oh why, 
does the plot summary of the Alice books contain rather 
childish illustrations by William Bond rather than the original 
Tenniel illustrations (even if they had to be adapted)? 

Despite these shortcomings, this article must be considered 
a major event in the Carroll world for it will bring the story of 
Lewis Carroll to thousands who have never heard it before. 



Le GaLLIENNE (continued from pu^e 2) 
scenes and Tenniel costumes to the wood notes of Richard 
Addinsell. No doubt the children will love it if their imagina- 
tions are still unfettered. But it is certain that their elders will 
love it with a nostalgic rapture for the days that no longer 
come." 

The popularity oi Alice was so great that Columbia Pictures 
expressed interest in adapting it to the screen. Contracts had 
been drawn up and were awaiting signatures when Paramount 
announced plans for its film oi Alice and the Columbia project 
was scrapped. Members of the Paramount staff attended many 
performances of the Civic's Alice and Le Gallienne was 
amused to find a message from the film company one day 
asking for John Tenniel's phone number! 

In spite of the success oi Alice, the Civic was strapped for 
funds at the close of 1932. As the depression deepened, the 
private endowment which had kept the theatre alive began to 
disappear. Although attendance had been higher than ever in 

1932, the company was in serious financial trouble. Clearly, 
if the Civic was to survive, something had to be done. 

Le Gallienne had often 
turned down offers to move 
her successful productions 
uptown to Broadway, feel- 
ing that this would be in- 
consistent with the 
company's goal of fine the- 
atre at low prices. Now, 
however, she had little 
choice. Alice in Wonderland was regarded as a "hit," so, in 
order to generate the cash so desperately needed to keep her 
theatre alive, Le Gallienne decided to transfer /4//<:e to Broad- 
way, where higher ticket prices might produce a profit at the 
box office. In January, 1933, the Civic suspended its repertory 
in order to move Alice to the New Amsterdam Theatre. 

Brooks Atkinson again wrote a favorable review of the 
production, pleading with his readers to support it for the sake 
of the future of the Civic Repertory Theatre. Sadly, the move 
to Broadway did not produce the desired results, and though 
the Alice production went on tour to several major cities in 

1933, that tour marked the end of the Civic Repertory Theatre. 
Seven years after it had begun, Eva Le Gallienne's repertory 
theatre became another victim of the depression. 

Le Gallienne continued her career as a successful actress, 
but after the war her mind turned again to thoughts of a 
repertory theatre. Together with Margaret Webster she founded 
the American Repertory Theatre which began producing plays 
at the International Theatre on Columbus Circle in 1946. 

Le Gallienne had been approached several times by Rita 
Hassan who was interested in reviving Alice, and, in 1947, Le 
Gallienne suggested that Miss Hassan join forces with ART to 
produce the play. A satisfactory business arrangement was 
reached, and, following a search for an Alice which turned up 
Bambi Linn, rehearsals began. Hassan was anxious to have the 
1932 Alice reproduced as closely as possible. Much of the 
original creative staff was assembled, and Le Gallienne re- 
peated her role as White Queen. Among the younger members 



The children will love it if their imaginations 
are still unfettered . . .it is certain that their 
elders will love it with a nostalgic rapture for 
the days that no longer come. 

— Brooks Atkinson 



of the cast was a white rabbit named Julie Harris who was 
destined for great things. 

The revival of Alice opened at the International Theatre on 
April 5, 1947, later transferring to the Majestic Theatre where 
it ran until June 28. Again, Alice received generally good 
reviews and played to full houses. Bambi Linn was even 
featured on the cover oi Life magazine. When Alice closed, it 
was reported that during no part of its run had it lost money. 
However, because of its initial investment and its association 
with the financially beleaguered American Repertory Theatre, 
it did not make money either. 

During its run at the Majestic, the show was recorded in a 
hour-length album for RCA Victor. Le Gallienne wrote that 
"while everyone agreed on the excellence of these recordings, 
RCA, for some obscure reason which they alone can fathom, 
shrouded their existence in such profound mystery that I doubt 
if more than a dozen people have ever heard them." 

Many more people would experience Le Gallienne's i4//ce, 
though. On October 23, 1955, her adaptation was transferred 
to another medium — television. Alice in Wonderland was the 

first presentation of the 
Hallmark Hall of Fame, a 
series which continues to 
present television specials 
to this day. Le Gallienne 
again played the role of the 
White Queen. 

On December 23, 1982, 
Le Gallienne's Alice made 
a 50th anniversary appearance on Broadway, this time at the 
Virginia Theatre. This lavishly mounted production was 
directed by Le Gallienne, who recreated her White Queen for 
a final time. Bambi Linn assisted with movement in the new 
production. Unfortunately, the adaptation which had seemed 
so fresh in 1932 failed to charm critics 50 years later. Though 
praised for its costumes and sets, once again designed after 
Tenniel, the production was generally criticized by reviewers 
as having no real spark in it. 

Nonetheless, Alice again made the transition from stage to 
television, this time as part of Public Television's Great 
Performances series. WNET-TV, one of the New York area's 
public television stations, had been a major investor in the 
show, and, though the play had only a brief run, the station was 
eventually able to raise enough money to make Alice into a 
television presentation. The TV Alice aired on October 3, 
1983, and featured much of the Broadway cast, including Kate 
Burton as Alice, as well as a few added stars, such as Kate's 
father Richard, James Coco, and Colleen Dewhurst. 

Through its three Broadway presentations, two television 
adaptations, and countless regional and amateur productions, 
Eva Le Gallienne's Alice in Wonderland has been seen by 
hundreds of thousands of Americans. The script has been kept 
almost constantly in print and available to amateurs by Samuel 
French since that company first published it in the 1930s. 

On the occasion of the 1982 Broadway revival oihtr Alice 
Eva Le Gallienne was presented a certificate of appreciation by 
the LCSNA and made an honorary member of the Society. 




Carrollian 

Notes 



Carroll Letters Bring 
Record Prices 

A collection of twenty-nine letters from 
Lewis Carroll to Agnes Hull (all of 
which had been published) sold at 
Christie's in London on June 26 for 
£126,500 ($206,000). Both the seller 
and the buyer were anonymous. The 
letters include some marvelous examples 
of Carroll's talent, including mirror writ- 
ing and circular writing. Though the 
estimate of £20,000-£30,000 was prob- 
ably well below the fair value of this 
remarkable collection, this stunning price 
is unprecedented for Carroll letters. Bid- 
ding progressed rapidly to £55,000 and 
even more rapidly after that as two bid- 
ders competed for the prize. The final 
price was impressive enough to be picked 
up by the news wires, and reports of the 
sale appeared in papers in France, the 
United States, and elsewhere. In a July 
30 sale at a Massachusetts auction house, 
a copy of The Hunting of the Snark in a 
presentation binding inscribed "J. W. B. 
from C.L.D. a token of friendship and 
regard. Ap. 4, 1876" sold for $5720. 

Tenniel Biography 
Published 

Sir John Tenniel Alice's White Knight, 
a full scale biography of John Tenniel, 
hasjust been published by Scholar Press 
(Old Post Road, Brookfield, VT, 05036). 
The book sells for $75.00, but the pub- 
lisher is taking pre-publication orders 
from LCSNA members for only $55.00. 
The book is by Rodney Engen, a Victo- 
rian illustration scholar who has also 
written volumes on Randolph Caldecott, 
Walter Crane, and Kate Greenaway. His 
Tenniel volume consists of 169 pages of 
text, illustrated with over 150 black and 
white illustrations, along with several 
lengthy appendices. Most useful of these 



is one listing the complete 
published works of Tenniel, 
which is far more extensive 
than previous checklists. 
Engen 's effort represents the 
first in-depth biography of the 
elusive illustrator who con- 
tributed so much to the Alice books. A 
lengthy chapter on the Alice illustra- 
tions includes reproductions of sketches 
by both Tenniel and Carroll. Our first 
impression of the book, which arrived 
just days before this KL went to press, is 
that, while still leaving many unanswered 
questions about Tenniel, it will prove 
an important reference for those inter- 
ested in his life and works. A full review 
will follow in the next KL. 

Fifth Grade Alice 

Alice Whipple in Wonderland, by Laurie 
Adams & Allison Coudert, tells the story 
of ten-year-old Alice Whipple, who 
longs to play the lead in the school play, 
Alice in Wonderland. Unblessed with 
the skills of a thespian, Alice is cast as a 
lowly oyster — if only she knew how 
much Lewis Carroll admired the perfor- 
mance of oyster Dorothy d'Alcourt in 
Henry Savile-Clarke's 1 886 /4//re drama! 
Carrollians will enjoy the fact that the 
authors use this set-up to teach their 
readers a little about Lewis Carroll and 
his works. Alice's teacher, for instance, 
explains the hatter's madness to her stu- 
dents: "In the 1 9th century when y4//fc/>7 
Wonderland was written, hatters used 
certain chemicals that had the unfortu- 
nate effect of poisoning them and affect- 



ing their minds." Alice Whipple uses her 
oyster costume as a disguise to help her 
solve a mystery. The book is the sequel 
to Alice Whipple — Fifth Grade Detec- 
tive, and is written at about fifth grade 
reading level. Published by Bantam- 
Skylark, it should be available through 
your local bookseller. 

New Golden Book 
Alice 

A new "Little Golden Book" of Walt 
Disney's Alice in Wonderland has been 
issued and is available at bookstores (and 
supermarkets) everywhere (Copyright 
1991, volume number 105-77). The 24- 
page volume features text adapted by 
Teddy Slater and illustrations after the 
Disney movie by Franc Mateu. As usual 
with Disney productions, Lewis Carroll's 
name is not mentioned anywhere in the 
book. The text combines scenes from 
Wonderland andLooking-Glass, and has 
been completely rewritten from earlier 
Golden Book editions. As in previous 
efforts, however, all of Lewis Carroll's 
charm is removed from the story, and 
whole episodes are summed up with lines 
such as "she had entered a strange and 
wondrous land . . . full of the oddest 
creatures she had ever seen." Character- 
izations, and even dialogue, are based on 
Disney's, not Lewis Carroll's work. 
When one realizes that most American 
children will first encounter Alice in an 
edition such as this, one wonders if future 
generations will ever be inspired to read 
the real book. One thing is for certain — 
Lewis Carroll would be horrified. 



[The recent survey in the D 1 D L 1 O Cj RA 1 H E R S C 

Knight Letter indicated ^^''"'^^'""""^~ j /^ 

R 
N 
E 
R 



that many LCSNA members are book collectors with an interest in the 
details of Carroll bibliography. In this new column we hope to offer 
previously unpublished bibliographical tidbits. We invite contributions 
from all members.] 

The 1932 first American edition of Alice's Adventures Under- 
ground is famous for misstating, both on the dust jacket and in the book, 
the date of publication of the first edition. The actual date of the original 
was 1 886, but the American Underground states that it was printed in 
1 876 and 1 886. We recently acquired a copy of the American Underground, 
presumably a later issue, in which this mistake had been corrected. Unfortu- 
nately, our copy was lacking the dust jacket. Do any members know if the error 
on the jacket was ever corrected? 



iMfn C/a^ ra 



Of^, 



A staged version of Mike Batt's The 
Hunting of the Snark will open on Octo- 
ber 24 at the Prince Edward Theatre in 
London's West End. The original studio 
recording of Batt's Snark, released in 
1986, featured Roger Daltrey, Art 
Garfunkel, Julian Lennon, Cliff Richard, 
George Harrison, John Gielgud, and John 
Hurt. Full color advertisements in the 
London papers look intriguing, but do 
not indicate cast members. 
LCSNA members who will be in 
London in late November and 
wish to see the show may wish to 
contact the editor, who will be 
securing tickets. 




Cof^f^e^pondent^ 



LCSNA member Michele Rosenberg has 
written a pop-up version oi Alice which 
will be published by Ottenheimer Pub- 
lishers of Baltimore, Maryland, in 1992. 
The story has been condensed into four 
books of approximately 1 80 words each 
which will be sold together in a slipcase. 
Watch future KLs for details 



Also in London this fall, the Brit- 
ish Library will mount an exhibi- 
tion titled "One hundred and twenty-five 
years of Alice" from September to De- 
cember. At the September 18 opening 
Macmillan and Company and the 
Dodgson Family Estate will present the 
original Tenniel woodblocks for the /l//cr 
books to the museum. 



The New York Times Magazine for June 
2, 1991 featured a crossword puzzle tided 
"Wondrous Maze." Embedded in the 
finished puzzle is a quote from Alice. 

"Alice in Wondertown" is a Cuban film 
which uses Carroll' s story as the basis for 
scathing political satire. The Alice of the 
film visits a fictional town in which a spa 
director tries to cure the spiritual and 
physical defects of characters who clearly 
reflect the filmmaker's view of what is 
bad about Cuba. The film set attendance 
records in Cuba until it was banned four 
days after opening. 



Surveys! Surveys! Surveys! 

Results of the LCSNA Membership Survey 
will be published in the next Knight Letter^ so 
please send in your completed survey if you 
have not already done so. If you need a 
survey, please contact the editor. 



Alyson Publications (40 Plympton St., 
Boston, MA, 02 1 1 8) has launched a new 
series of children's books under the title 
"Alyson Wonderland." The series, which 
is about children with gay and lesbian 
parents, uses a stylized Tenniel White 
Rabbit in its advertising. 

Byron and Victoria Sewell's long awaited 
Korean rendition of Alice in Wonderland 
has been published by Sharing- 
Place of Seoul, Korea. Alice's 
adventures are relocated and re- 
vised to use the Korean cultural 
idiom. The book includes not only 
the Korean text but also an English 
retranslation as well as illustrations 
in the Korean style. 



Orchard House of Concord, MA, offered 
a special program in July for children to 
study local children's author Louisa May 
Alcott plus six others, including Lewis 
Carroll. 

In "A Reader's Guide to the Best in 
Business Books," (Lear's, August 1 99 1 ), 
Patricia O'Toole recommends Alice as a 
prime example of dealing with a hostile 
work environment. 

A new theatrical version of The Hunting 
of the Snark has been produced at Amherst 
College and will be presented by KO 
Theater Work, Inc., next season. The 
work, created by Thom Haxo and Peter 
Lobdell, concerns a production of The 
Hunting of the Snark which is presented 
by the community theatre of 
Skinnersville, a fictional town inhabited 
by characters which are part animal and 
part human. 



Adventures in Musicland is a computer 
program for the Macintosh family of 
computers. Based on Alice, the software 
is a collection of four musical games and 
puzzles for children. Available from: 
Dr. T's Music Software, 100 Crescent 
Road, Needham, MA, 02194. 

Lewis Carroll makes an appearance in 
Julian Rios' novel Larva (Dalkey 
Archive, 1991, $27.50). The main action 
describes a phantasmagoric party held in 
London on a midsummer night. Among 
the masked guests are Don Juan, figures 
from The Arabian Nights, and everyone's 
favorite don. 

Prices for animation eels continue to rise 
across the board with a eel of "Alice 
Amidst the Talking Flowers" from 
Disney's 1951 Alice film bringing 
$79,200 at Christie's, New York, at a 
June sale. 



For assistance in preparing this issue we would like to thank: Sandor Burstein, Rene Campbell, Johanna Hurwitz, Stephanie Lovett, 
Stan Marx, Lucille Posner, Brian Riddle, Michele Rosenberg, David & Maxine Schaefer, Edward Wakeling, and John Wilcox-Baker. 

Knight Letter is the official newsletter of the Lewis Carroll Society of North America. It is published quarterly and is distributed 
free to all members. Subscriptions, business correspondence, and inquiries should be addressed to the Secretary, LCSNA, 617 
Rockford Road, Silver Spring, Maryland, 20902. Submissions and editorial correspondence should be sent to the Editor, Charles 
C. Lovett, 1092 West Fourth Street, Winston-Salem, N.C. 27101.